The lights were programmed as part of the motion control with dimming, fading and moving. The lighting rig let us change from front to backlight, and it also helped with the transitions as each actress entered or exited frame.
I didn’t want to front light everyone all the time. There was a bunch of roto to remove things and individualize each actress. How were some of the people removed in post when there was an overlap? We did that song 250 times and focus was a little different every time. Its green bars on the monitor gave me a feel for the movement. We had to pull focus for all 250 takes-the distance ranged from 18 feet to as close as 20 inches, depending on what the talent did.ĭan Ming added by email: We were stuck behind a solid so we used the Light Ranger 2. That was a reason why it was beneficial for the 2500 ASA and extra depth of field. Others really went a little bit crazy-gawking into the lens or really slamming up to the camera and then quickly moving away. Some of the actresses played to the lens. My assistant was Dan Ming and no, it was not easy. I guess focus was pretty easy once your AC had it centered on the subject? They just did 2 or 3 takes, because no one really had that much time. Once programmed, it became pretty simple for the talent. Craig Shumard is the owner/motion control tech. Pacific Motion Control was the company that supplied the motion control “dolly” rig, head, equipment and track. Who supplied the Motion Control rig for the circular move? As for viewing, we monitored the whole job in 4K on a Sony x300. That’s another nice thing about VENICE: we could “window” the sensor for 16:9 aspect ratio in Super35 4K. But we still had to manually pull focus on every take.
The added depth of field definitely helped get everyone into focus-close up and far away.
And I said, “Let’s give it a go.” When we looked at the footage, we realized that this was something that could really work well. I had a beta firmware of version 2 at the time.
#MAROON 5 GIRLS LIKE YOU GIRLS ISO#
To hold the MoCo two shots, we used the Sony VENICE camera’s dual base ISO of 2500. Motion control (MoCo) was really the only viable option. We shot Maroon 5 together as a band, Adam by himself, then over the following days passes with Adam interacting with talent and finally the talent by themselves. We plotted where everyone would go so they could interact with each other and the lead singer, Adam Levine. It turned into a five-day non-consecutive shoot because of talent schedules. We knew we had to get all these actors at different times, because they would never be available on the same day. So, we decided to design it as a motion control round track shot. The way Director David Dobkin conceived the shoot was to have actors coming in at different times but to make it feel like everyone was there at the same time.
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